Don Smith
Forum Replies Created
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Dave is talking about the Connection Override command when he says to hold the tilde key while slipping and he is correct but let me give you a little further information to make the process easier.
To be clear, the Connection Override allows you to, say, slip a clip without affecting anything connected to it.
I like that you can press and hold a mode (like ‘T’ for slipping) and act in that mode and when you release then you automatically go back to the mode you were in before. That’s great but what if you want to go into Connections Override AND temporarily slip the clip? It’s not easy to hold the Tilde key and the T key and slip the video with your mouse all at the same time.
But, there’s a way to get the Connections Override command to ‘stick’. I think of it as the Rocking Horse Move (my name) since I had to discover this on my own when I could not find this move online. Press and hold the Tilde key with your left middle finger then press and hold the Command key with your left thumb, then release the Tilde key and then release the Command key. The Connections Override (which, being a Vietnam vet, looks kinda like a 7th Cav patch to me) will ‘stick’ and leave your fingers free to do other things like slip a clip while not affecting any connected clips.
Just press the Tilde key to get out of Connections Override mode.
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No one has mentioned the Retime panel and the ability to Reset Speed (Opt-Cmd-R) and I only throw this in as not an answer but a possible starting point in finding your answer. Resetting the speed of the clip makes Final Cut Pro X play the source clip frame-for-frame with the Project framerate. In other words, a 24p shot in a 30fps timeline will play a full second in the span of 24 frames and not in the span of 30 frames in the 30fps timeline. No one-second-to-once-second parity. It’ll slightly speed up the clip, but no pulldown is added to make 24f (one second) of source footage play as one second in a 30fps timeline.
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I thought you knew to expect that. With your Prefs trashed Final Cut no longer remembers what you had open since last time. Simply go File > Open then select Other. Then select Locate in the bottom left. Navigate to the Library you want to open. Sorry. I didn’t know you hadn’t learned the basics of opening an existing Library.
Once the Library is open then double-click on the Project you want to continue editing.
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A couple ways to do this…
If you zoom into the transition you’ll see a couple of vertical lines in the upper corners. Those are ‘thumbs’ that you can drag to change the length of a clip. The thumb on the left is the left edge of the clip to the right and the thumb on the right is the right edge of the clip to the left.
Drag on a side but not a thumb and you change the length of the transition.
Drag on the two triangles facing each other (they look kinda like a bow tie) to roll the edit back and forth.
Finally, you can ‘enter’ the transition by double-clicking on it and you’ll see three tracks with the outgoing clip on top, the transition in the middle, and the incoming track on the bottom. There you can do total customization.
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Do you double-click the different Project?
Try quitting FCPX and launching with Command and Option keys held down and chose to delete your preferences.
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It looks like you’re editing within a Compound Clip that is part of a Project called FireWorks 7-5-14.
Hold the Command key and press the left bracket and that will step out of the Compound Clip and back into your Project.
It’s the same key combination you would use in a Web browser to go back and forward in the history of that tab.
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David, when you first get Final Cut the Movies > Templates folder may actually be empty. However, you cannot simply create the ‘Effects’, ‘Generators’, etc. folders yourself. They won’t work because they aren’t what we used to call ‘blessed’, meaning there’s some attribute to the folders that is created by FCPX that is not created by manually creating them.
Those folders you found in Application Support are the ‘built-in’ effects.
When a friend first installed X and I saw that there was nothing inside the Templates folder I called up Motion, started a Text template, deleted the text layer leaving the layer labeled ‘Timeline Video’ and saved it as ‘Adjustment Layer’. That caused all the folders to appear in the Motion Templates folder. You’ll find the quickie ‘Adjustment Layer’ to be a great tool. Just lay it above the timeline to do many things to the edit like applying a look or scaling and rotating without upsetting your edit.
Now, the empty Motion Templates folder might have been an isolated case. i don’t know. Just passing along the story. However you do it, once the folders inside the Motion Template folder are created then you can simply manually put effects and Generators and Titles into it without having to go into your Library folder.
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Boy, with the talent moving like that you have a tough job trying to manually stabilize. You might try a temporary background that gives you points on a grid or something so that you can better gauge the movement.
I don’t know what you mean about using the bottom of the talent clip. If the camera is moving up and down on the talent then the bottom edge of the clip is no reference at all. That’s why I suggested the top of their heads. But now that I see them moving so much a better point to stabilize would be some part of the microphone. It’s the only part of the talent clip that you know is not moving.
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If you followed my guide to duplicate the green-screen clip so that you can crop the side of one and the top of the other so to cut out just a corner, then, without doing anything else to those clips put them into a Compound Clip. Apply the keyer to the Compound clip. Put the background clip below the Compound Clip.
From the point in the clips where the talent dips down the most, set a position keyframe and raise the talent so that the top of their head is in a spot where you want it to be for the full movie. That will expose the bottom of the talent Compound Clip so scale it up so that doesn’t happen. Set a Position keyframe then step through the frames forward from there and then backward from there. Once the first keyframe is set the simple act of moving the Compound Clip up and down automatically sets new keyframes. TIP: Hold the OPTION key while dragging on the Position number to adjust it vertically and by holding the Option key the process ‘gears down’ and your numbers can be more precisely set.
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Yeah, I was suggesting to compound the two green-screen clips so they can be moved in unison when you keyframe the compound clip to track the up and down motion and neutralize its motion.
Matching the lighting is always difficult especially if the talent is indoors and the bg is outdoors.
You can try matching one clip (the compound clip) with the bg clip for color palette. That’s a drop-down in the upper right of the timeline window. In the color corrector, bottom right of the window, is a bunch of color palettes. Maybe experiment with applying the same one to both the bg and the compound clip.
Sorry, no magic pill to match indoor and outdoor lighting in post.
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